Before You start

it's important to remember you dont just need modules and a cool case - before you get all excited about what amazing $600 module you can get to do weird wiggling with, you need a bit of your budget to cover actually making the modular produce sounds:


 * you can always just use the modules themselves - even a simple LFO or envelope with cycle/loop/repeat can produce patterns/rhythms etc as cv/gate/trigger signals.


 * there are dedicated sequencing modules, some very cheap - pretty much they will range from something that sends a cv value when a certain time has passed, but the complexities are pretty much endless


 * the simplest as far as instant results is probably a keyboard/trigger button/pressure pad/theremin/ribbon/whatever controller that produces cv signals. just plug the thing in and press/wave/slide hands and fingers to make noises. (often not the cheapest options, and sometimes not useful with anything other than a cv controlled synth)

- if you have a midi controller/keyboard/etc. then just plug in and, configured appropriately, you're set. - a hardware sequencer will be similar as far as setup goes, but you'll need a little knowledge of programming midi hardware - grooveboxes like the korg electribes and yamaha rm1x excel at these tasks - a computer running a midi sequencer or DAW with midi capability is great if you get on with software, but you'll need a midi interface. anything from a $3 usb to midi adaptor cable through to a $1k studio interface card/breakout box setup will perform if you have compatible gear and the skills to set it up.
 * probably the most versatile for the money is a midi to cv module. there's a range of options from doepfer's A-190's that are pretty cheap through to polyphonic monsters that take some programming patience. these will of course require a midi source to drive them:


 * the same midi options apply to non-module midi to cv converters - these stand alone units tend to offer greater fuctionality but often cost more. unless you already have the rest of the midi gear needed, even though you can have multiple scalable cv outs, Hz/V, s-trig, din-sync and built in lfos etc, they're rarely the cheapest option for the money.


 * 'midi' via usb is becomeing available now, and although basically no great difference to the midi setups above, you should be able to avoid needing a dedicated midi interface for the computer and find compatbility with many modern usb enabled hardware controllers and synths.


 * if you want to use a computer running a DAW, by far the best option of the money is probably something from the Expert Sleepers range - dedicated conversion of the outputs of an interface into cv signals via a plugin for the daw and a module that takes stuff like audio, lightpipe and spdif in, and provides a stack of cv sockets.

personally i found there were a few basic factors affecting my decisions, based on: - how did i want to use the modular - what did i already own - what was my budget - how much space did i have in and out the case

i am so uncoordinated and desperately anal that i wanted to be able to set everything in stone and reproduce the results over and over. this lead me to wanting a programmable sequencing option. i generally seem to find that many many modular owners want to have much more immediacy, freedom and life from their setups hence choose keyboards/pressure pads etc.

i started with a studio based around midi gear so already had both hardware midi sequencers, a computer with midi interface and all the cables etc. choosing midi was therefore cheap as well as convenient. had i none of that i probably would have either started with a usb 'midi' interface or Expert Sleepers depending on budget.

[''due to limited budget i selected Doepfer A-190-x modules since i had no shortage of space to put them in - had i not already got midi hardware and interfaces, on the same budget now i would have chosen the doepfer usb versions of those modules - they may be monophonic and only have a few outputs, but with a starting system of only a few basic modules, they should provide necessities, supplying pitch, note length, velocity, pitchbend and general purpose outs via the standard 1v/oct, gate, and cv sockets. though the default settings are pretty much perfect for most basic midi setups i found the config easy to alter and there's scope to experiment with the uses for the output sockets however you patching them...''

having followed this route i'v ended up using an external kenton midi to cv box, but the total spend on gear actually means that if i were to try and jump straight to this setup right now it would have made more sense to just opt for expert sleepers from the word go.

''i must admit, i'm really starting to crave modular sequencing options these days, but i probably could fill another case with modules like step-sequencers, logic, clock and other such cool stuff. so i try to pretend i'm not interested in that stuff... (ha!)'' ]

Often people starting a modular are on a budget or limited by space - therefore want to cram the best amount function from a given spend. here's some things to consider:


 * you will want oscillators to make noises, but oscillators also can provide cv for other modules. since you are likely to want as many sounds and functions as possible from a sound source, it's definitely worth looking for LFOs that go up to audio frequencies and VCOs that go down to useful cv frequencies. Likewise, resonant filters and some loopable EGs and slope/slews can be pushed to oscillate at audio frequencies.


 * those EGs and slopes/slews that cycle etc. are also good sources of sequencing/distortion and other unexpected functions.


 * VCOs with waveshaping and other cool functions not only save having to buy extra modules with those controls, but if they go down to LFO speeds then you can get weird wave shapes for cool cving.


 * Many of the less vanilla modules have multiple outs and ins, gain, offset, attenuation etc, saving on having to buy mixers, mults and other ustility modules. sometimes this justifies the extra cost.


 * it's worth considering your need for processing audio, cv or both when buying stuff like VCAs and Mixers - switchable to Lin or Log can really save space.


 * Modules with multiple audio inputs and outputs, cv inputs and outputs and cv-able parameters are good since they allow you to really get into the ethos of modulr sythesis - crossmodulation, feedback loops, frequency, gate or other control dependent shapes and rhythms etc.

fundamentally, it's often the case that:


 * expensive modules arent just about sound quality - many sounds are trashy distorted screaming madness or the inherent 'imperfections' that analog brings, so who gives a crap about 'quality'? function is often the real gain.


 * cheaper modules arent in anyway 'bad' - there's a good reason some doepfer modules outsell everything else 10 to 1. they sometimes not only do a cool thing, but also can do it better than some of the competition when it comes to cv options, switchable ranges and ease of use.


 * certain manufacturers or designs of module have a very specific character - for example, stuff like an Analog Systems RS-180 VCA or a Malekko/Wiard Borg 1 sound very distinctive when used in certain ways and this may be the true appeal of such modules.


 * Don't go by module funtion, reputation, cost etc. alone - think what you want to achieve then read up and listen to examples to judge what would suit your desires the best.


 * with some exceptions of very rare or expensive gear, it's uncommon to be able to build a replica of a specific bit of gear for less money using modules.

so basically, think first 'what do i want to do with the modular', second 'what allows this but gives options do do other stuff or expand further' and then choose solutions based on budget or space.

As well as a load of modules (what else do you immediately fantasise about?), and the best case for you, have you remembered:


 * patch cables? cheap ones can really spoil the fun - looseness, intermittent connections, etc. are they long enough? you will inevitably expand - but also, shorter ones will tangle less and be more convenient to trace routings as well as not crowding your working space. likewise, a variety of couloured cables can help immensely when your patches get complex.

studio monitors can handle the unexpected, speaker blowing pops, peaks, thumps, and other abuses with less likelihood of damage. (they're built for for raw, unmixed, unmastered peaky sounds)
 * a way of hearing the output? output modules, mixers, interfaces etc. could be necessary for you setup - headphones may need a dedicated amp, mixers will need some amp/speakers/powered monitors/hi-fi or whatever.


 * a strong surface to stand the modular and controller on at the right height for comfortable use. likewise, a comfy chair or place to rest - you need space and ease of access from a position you can stand to be in for hours - i often end up on the floor with patch cables on a rack next to me.


 * it really is a very good idea to have at the very least a well grounded surge protected socket for the power into the modular - you'll likely have a mixer or computer or amp/monitors plugged in too, so a decent power conditioner or proper supply might be worth considering. the cost could pay for itself ext time you have an electrical storm or the cable guy cuts the wrong wire...


 * i also find, even as one with next to no electrical knowledge, a cheap multimeter can help you quickly check stuff like a dodgy cable, socket or fuse etc.